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villa_shere

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Was invited to a work function yesterday. Usually dull affairs to be ducked if possible, but was pleasantly surprised.

The speaker, Joe, AKA INSA, was a really interesting guy.

INSA

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I was watching a documentary on Dante Gabriel Rossetti a while ago, and the presenter Andrew Graham-Dixon, said of one of his unfinished paintings, that it was more a drawing that had been colored in rather than an actual painting, and I didn't really know what that meant, it kind of took me by surprise, not that I didn't know what it meant, but that there's more to a painting than just the drawing and the colors.

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This dragon was painted in around 1763 by Soga Shōhaku, I never would have imagined that dragons were painted like this back then, it's face reminds me of a cartoon.

04.-Dragon-and-Clouds_Soga-Sh%C5%8Dhaku.

Edited by useless
It's called Dragon and Clouds, and stretches across eight panels.
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On 08/07/2019 at 01:42, useless said:

This dragon was painted in around 1763 by Soga Shōhaku, I never would have imagined that dragons were painted like this back then, it's face reminds me of a cartoon.

04.-Dragon-and-Clouds_Soga-Sh%C5%8Dhaku.

I don't know if parody is the correct term for it, however during the days of the samurai, these types of performances were part of Japanese culture.

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As mentioned earlier, I was a graffiti writer for a decade (don't worry I did my community service as a consequence, nearly got incarcerated for it). Some tattoo design too.

Not one of mine, just sharing some aerosol can love!

 

4118.jpg

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On 13/08/2019 at 16:27, bickster said:

The shadow on the wall is particularly good

The bloke's feet aren't there (admittedly hard to do) but aside from that, the highest, leftmost "shadow" is all wrong - the bit directly above "the bus".

 

5/10 WNB

(would not board) 

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Since I grew up reading fantasy books and playing role playing games I really liked the old Michael Whelan stuff and Ola Larson is following is his footsteps.

He also does some really nice album covers

Bildresultat för ola larsson

Artikelbildola-larsson-trudvang.jpg?1458381090

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Quote

Women of Central Asia have been weaving hand-made rugs of intricate design for thousands of years. But in 1979, the carpets began to change radically. The Soviet invasion of Afghanistan displaced more than a million citizens and devastated the region. Its effects impacted everyday life so deeply that women in Afghanistan and those living as refugees in Pakistan and Iran began to incorporate icons of war into their carpets. Flowers, birds, and decorative knots were replaced by machine guns, grenades, helicopters, and tanks in what were otherwise traditional weavings. These symbols were at first subtle additions, and were later emphasized for a niche market of Western collectors.

After a brutal decade of guerilla warfare in which many civilians were killed, the Soviets withdrew from Afghanistan, but a civil war continued between the Afghan army and the Mujahideen throughout the 1990s. By the end of the decade, the Taliban had seized control; the extremist group quickly implemented a severe interpretation of Sharia law. Women’s economic and social independence, as well as their basic access to public life, was grievously curtailed by the practice of purdah, or female seclusion.

Aniconism was also decreed based on a hadith, or Muslim religious text referring to the life of prophet Muhammed; depicting living creatures became idolatrous. Photography—in addition to most art forms—was also banned. In this context, the flowers and fauna incorporated into many traditional carpet patterns became riskier. Strangely, parachutes and bombs easily took their place. War in the region continued with the American invasion in 2001. Iconography in propaganda leaflets dropped from U.S. military aircrafts began to appear in the women’s carpets, including the image of the burning Twin Towers.

Despite decades of war, ancient pattern techniques that can take months or years to complete are still passed from mother to daughter. Testimony from the makers of these carpets is difficult to obtain, as many of these works remain unattributed, and the female weavers lack easy access to modes of international communication. But the largest online archive of Afghan war rugs, maintained by New York–based artist Kevin Sudeith, offers information and an online store. Still, the weavers’ authorship is often lost when these works go to market, yet their masterful compositions reveal a dark humor and complex commentary on contemporary life.

 

Artsy

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